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Trouble in Paradise SEQUENCE A FADE IN NIGHT MED. SHOT DOOR OF A HOUSE A cheap residential district. The house has no architectural character; it is not certain where we are. Near the entrance door is a garbage can, full. A dog is nibbling at some of the garbage. We hear whistling, footsteps. A garbage man comes into the picture. He shoos the dog away. Without pause in whistling, he lifts the garbage can and, followed by camera, goes to the end of the block, which is only a few steps. Now we discover we are in Venice. In the background is a major canal and a typical bridge--romantic background. Gondolas are passing. In the foreground at the sidewalk is the garbage gondola, piled high with garbage. The man dumps his load, leaves the empty can on the sidewalk, gets in the gondola, and paddles away with the grace of a gondolier. Now, in a beautiful tenor voice which is quite a contrast to the garbage, he starts singing a passionate Italian love song. LONG SHOT A GONDOLA Two tourists. Husband and wife. They are in a sentimental embrace. In back is the gondolier. Camera follows gondola a few seconds, coming closer. ANOTHER GONDOLA Camera shoots down. Gondola is covered by a typical little canopy, so that gondolier cannot see the passengers. Camera cuts canopy on one side so that we don't see, at first, who is paddling. In the gondola seat is a woman in evening gown, lots of jewels. She lies in the arms of the gondolier. They kiss. Camera moves up and discovers who is paddling the boat. It is the husband of the lady who is having such a good time with the gondolier. Husband is in tuxedo and straw hat, smoking a long cigar. He is enjoying it like a child with a new toy. HUSBAND Darling! WIFE'S VOICE Yes, sweetheart. HUSBAND What a canal! SIDEWALK in front of the hotel. Camera shoots down from the hotel on the sidewalk, including part of sidewalk and canal. The water reflects the electric-lighted name of the hotel. At sidewalk is moored a gondola in which are four people. A man climbs out, starts to sing, the others in the gondola playing accompaniment. We hear a romantic Italian song, irresistible. The four look up to the hotel windows, expecting coins. HOTEL ROOM INT. photographed against the open window. In the background is the canal. Through the window we hear the street singers. Near the window is a table where five men are in a poker game, not listening to the music. We hear, over the music, the rattling of the chips. After a few moments the noise of the chips stops and the singing comes through more clearly. Casually one of the men, cards in hand, walks to the window, closes it, and returns to game. ANOTHER HOTEL ROOM CLOSE SHOT at open window. A woman is on a chair by a small table, telephoning. WOMAN Uh-huh ... Uh-huh ... During the scene we hear the same street singers. The woman, annoyed by the singing, closes the window. ANOTHER HOTEL ROOM Shooting over the bed toward an open window. Same singers are heard. On the bed, in the foreground, is a woman lying in her chemise and crying. In the background, sitting on the arm of a chair which is by the open window, is an elegantly dressed man. Evening clothes, overcoat, hat, walking stick. Annoyed by the crying and by the outside music, he gets up and slams the window shut with a bang. FRANÇOIS'S HOTEL ROOM MED. SHOT In the background is an open window with French doors leading to a little balcony. This room is on the other side of the hotel, looking out on a side canal. Close outside the window we see trees. The same music is still audible, but much fainter. Near the window is a desk. The drawer is open and all the papers are scattered on the floor. At the other side of the window is a trunk, open, all the drawers out and the contents thrown around. Room looks as if it has been rifled. For a little while we hear nothing but the faint music. Then we hear the door buzzer. There is no reaction. The buzzer rings again. Suddenly from behind the camera, a man comes into the picture. He is in a tuxedo. His back is to the camera, so we cannot identify him. He goes quickly to the window, jumps from balcony to a tree, and, climbing down, disappears. Buzzer rings again. Camera goes toward the tree to a very big close-up of a little branch. We see, on this little branch, a false moustache. We hear the man reach ground and receding footsteps as he hurries away. Again we hear, a little fainter, the buzzer. [EXT.HOTEL MED. SHOT On wall in moonlight. We see shadow of tree and of man as he reaches the ground. In silhouetted shadow, we see him take off moustache and sideburns and toss them out of the picture. FRANÇOIS'S HOTEL ROOM MED. SHOT toward window, low. Camera draws back and comes to a close shot on the feet of a man outstretched on the floor behind the camera. Buzzer is heard again, loud.] HOTEL CORRIDOR CLOSE SHOT at room door. We see the numbers 253, 5, 7, 9. At the door are two Italian dames, obviously disreputable. One is pushing the buzzer. They speak in Italian, but their emphasis and pantomime make the following clear to English- speaking audiences: Girl No. 1 brought Girl No. 2 to see the gentleman of room 253. Girl No. 1 rings again. Girl No. 2 complains to Girl No. 1 that she should have known better than to have brought her here and wasted her time. Girl No. 1 apologizes and indicates her watch as if to say, "The appointment was definite. I can't understand it." She rings again--viciously this time. LONG SHOT FRANÇOIS'S HOTEL ROOM Sprawled on the floor, his head resting on a chair, François is motionless. We see that a crime has been committed. François is an elegant man, about thirty-five, a conceited bon vivant. He is in a tuxedo. We hear the buzzer, insistent. CORRIDOR CLOSE SHOT at door Girl No. 1 presses buzzer angrily. Girl No. 2 accuses her loudly. Girl No. 1 answers just as loud. Girl No. 1 now bangs on the door, shouting insults to occupant of the room. Girl No. 2 joins her. CLOSE SHOT HOTEL CORRIDOR at door across the hall from room 253. It is numbered 254. We hear the voices of the angry Italian girls. The door opens, and an old gentleman, white beard, dressing gown over evening clothes, steps out. He politely but firmly asks, in Italian, for silence. CLOSE SHOT DOOR ROOM 253 The girls turn quickly toward the man. No. 2 says she can talk as much as she wants to. CLOSE-UP OLD GENTLEMAN He states emphatically that he won't stand for this. CLOSE-UP GIRL NO. 1 She looks over the old gentleman and makes a nasty personal remark. CLOSE-UP OLD GENTLEMAN He loses his temper and insults the girls venomously. CLOSE SHOT TWO GIRLS They are at the height of their fury. No. 2 walks out quickly toward the old gentleman. CLOSE SHOT DOOR ROOM 254 Old gentleman is in the open doorway. Girl approaches. The two stand toe-to-toe trading verbal punches. The old man, disgusted, retreats. He is about to close door, but girl, still vociferous, follows him into his room and closes door behind her. CLOSE SHOT GIRL NO. 1 Still in front of 253. In the sudden silence, she looks amazed toward 254. No. 2 has disappeared! CLOSE SHOT DOOR ROOM 254 Door opens quickly. No. 2 sticks her head out and, with a characteristic jerk, says in Italian, "Come in." She disappears, door slightly ajar. CLOSE SHOT GIRL NO. 1 at 253 She goes to 254, enters, closes the door. The camera swings fast to opposite side of corridor and stops at 253. We hear telephone ringing inside. FRANÇOIS'S HOTEL ROOM Shooting from outside of the window into the room. In the foreground is the window frame. We see François on the floor. Phone is ringing. François awakes, tries to struggle to his feet. But, still under the influence of dope, he falls. As he falls he drags with him, from nearby little table, a tray with glasses, making a loud noise. (The window frame in the following moving shot across windows outside will be done with a miniature hotel building.) Camera swings swiftly along the hotel front, around the corner of the hotel, and up to the third floor. It stops at a little balcony. Behind the balcony, leaning against one of two open French doors, stands Gaston, in a tuxedo, smoking a cigarette, looking romantically into the night. We see, in the room, a waiter setting a dinner table for two. The waiter arranges some flowers; then he comes forward, offering Gaston the menu. Gaston does not respond. WAITER (breaking into Gaston's reverie) Yes, sir? (Gaston still looks into the night.) What shall we start with, Baron? GASTON (coming to) Oh, yes ... Well, that's not so easy. (Half to himself.) Beginnings are always difficult. WAITER Yes, Baron. GASTON (directly to the waiter, presenting a problem) If Casanova suddenly ... turned out to be Romeo ... having supper with Juliet--who might become Cleopatra ..

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